In Black On Both Sides: A Racial History of Trans Identity, C. Riley Snorton examines American trans historiography through the prism of racial issues: how do gender and race interfere and intertwine…
Over the past decade and more, the term “research-creation” has gained increasing traction as a descriptor for work that combines conventional scholarly inquiry with experimental, art-based practices. Some commentators have heralded research-creation…
From the seminal “cloud” metaphor to green buttons and blue thumbs-up emojis, our interactions and dominant discourses around the digital embody a specific capitalistic agenda: the one of technology as a commodity…
Why does the future dream of being mapped out, gridded, and automatically piloted by the culture of high technology? How does technology manage to present itself as a marker of civilisation, affirming…
This contribution looks at digital technology through the prism of waste and waste’s potential. The contribution is based on a case study from an ethnographic survey that Bloch has been conducting with Thibault…
We have heard enough from the people who complain about an “epidemic of transgenders.” This harmful term compares being trans with a contagious illness and ignores an entire swath of history. The…
As an artist working in collaboration, my art practice activated reciprocal actions and responses in public contexts, while working in universities has paid my wages and supported my art practice with research…
Today’s cognitive capitalism operates on the logic of separationism that demands self-commodification and self-representation: a logic of exteriority that, as we know, is also engraved e.g., by social media. Equally, omnipresent media…
I am interested in writing about my performance-based pedagogy in relation to the text-based research that more directly signals its politics. This, in order to highlight important practice-based tensions and signal something…
In the contemporary art world, a professional sector based on the globalised market economy where I worked for over twenty years as a production manager, a curator, and later as a –…